LIZZIE MILES — Complete Recorded Works In Chronological Order • 1 (1922-1923) DOCD-5458 (1996) FLAC (tracks), lossless

 Lizzie Miles is better-known than most of the classic blues singers of the '20s because she made a comeback in the '50s when she emerged still in prime form. Actually her earliest recordings are quite obscure, making this first of three Document CDs a valuable acquisition for vintage blues collectors. Miles' initial 22 recordings feature her during 1922-23, mostly backed by unknown musicians in combos ranging from five to seven pieces on such numbers as "She Walked Right Up and Took My Man Away," "He May Be Your Man, But He Comes to See Me Sometimes," "Hot Lips," "The Yellow Dog Blues," "Aggravatin' Papa" and "You've Gotta Come and See Mama Every Night." Miles sounds quite comfortable both on vaudeville-type numbers and blues. The last three selections find her backed only by pianist Clarence Johnson, and on "Haitian Blues" she takes a kazoo solo that is surprisingly advanced for March 1923, a period of time when there were few horn solos on record. Recommended. Scott Yanow

Tracklist :
1 Muscle Shoals Blues 3:12
Lizzie Miles
2 She Walked Right up and Took My Man Away 3:16
Lizzie Miles
3 Virginia Blues 3:00
Lizzie Miles
4 State Street Blues 3:17
Lizzie Miles
5 Wicked Blues 2:55
Lizzie Miles
6 He May Be Your Man, But He Comes to See Me Sometimes 3:02
Lizzie Miles
7 Lonesome Monday Morning Blues 3:09
Lizzie Miles
8 Please, Don't Tickle Me, Babe 3:09
Lizzie Miles 
9 Hot Lips 2:58
Lizzie Miles
10 Take It, 'Cause It's All Yours 3:03
Lizzie Miles
11 The Yellow Dog Gal Blues 3:08
Lizzie Miles
12 The Black Bottom Blues 2:53
Lizzie Miles
13 He Used to Be Your Man (But He's My Man Now) 3:06
Lizzie Miles
14 Sweet Smellin' Mama 3:00
Lizzie Miles
15 The Trixie Blues 3:00
Lizzie Miles
16 Four O'Clock Blues 3:15
Lizzie Miles
17 Aggravatin' Papa 2:45
Lizzie Miles
18 Tell Me Gypsy 3:10
Lizzie Miles
19 You've Gotta Come See Mama Every Night 2:52
Lizzie Miles
20 Your Time Now 3:10
Lizzie Miles
21 Haitian Blues 2:59
Lizzie Miles
22 Sweet Smellin' Mama 2:34
Lizzie Miles
Credits :
Clarence Johnson - Kazoo, Piano
Lizzie Miles - Composer, Vocals
Bob Ricketts - Sax (Alto) 

LIZZIE MILES — Complete Recorded Works In Chronological Order • 2 (1923-1928) DOCD-5459 (1996) FLAC (tracks), lossless

The second of three CDs that reissue all of Lizzie Miles' recordings from the 1922-39 period features the versatile singer in 1923 (being accompanied by either Clarence Johnson or J. Russell Robinson on piano), and during 1927-28, after a successful period spent as a cabaret singer in Paris. For the latter recordings, Miles is assisted by Clarence Johnson, Louis Hooper or Porter Grainger on piano, cornetist Louis Metcalf on two fine numbers and the dated gaspipe clarinet of Bob Fuller on the final four selections (which include two versions of "A Good Man Is Hard to Find"). One of the finer singers of the '20s, Miles' delivery was quite accessible and one can always understand the words she sings. Highlights of this excellent set include "You're Always Messin' Round with My Man," "Cotton Belt Blues," "Lonesome Ghost Blues" and "If You Can't Control Your Man." Virtually all of the material on this 1996 CD was formerly very rare. Scott Yanow

Tracklist :

1 Haitian Blues (A Wild Weepin' Moan) 3:14

Piano – Clarence Johnson  

Written-By – Lizzie Miles, Spencer Williams  

2 You're Always Messin' Round With My Man 3:24

Piano – Clarence Johnson

Written-By – Spencer Williams

3 Family Trouble Blues 3:22

Piano – Clarence Johnson

4 Triflin' Man 3:00

Piano – Clarence Johnson 

5 My Pillow And Me 3:08

Piano – Russel Robinson

Written-By – Chris Smith, Clarence Williams, Tim Brymn

6 Black Man (Be On Yo' Way) 3:17

Kazoo – Lizzie Miles

Piano – Russel Robinson

Written-By – Spencer Williams 

7 Keep Yourself Together Sweet Papa (Mama's Got Her Eyes On You) 2:57

Piano – Clarence Johnson 

8 Cotton Belt Blues 3:06

Piano – Clarence Johnson 

9 Slow Up Papa 2:57

Cornet – Louis Metcalf

Piano – Louis Hooper

10 Grievin' Mama Blues 2:49

Cornet – Louis Metcalf

Piano – Louis Hooper

11 Mean Old Bedbug Blues 3:00

Clarinet – Unknown Artist

Piano – Unknown Artist

Written-By – Jack Wood 

12 You Can't Have It Unless I Give It To You 2:53

Clarinet – Unknown Artist

Piano – Unknown Artist

Written-By – Andy Razaf

13 When You Get Tired Of Your New Sweetie 2:49

Piano – Clarence Johnson 

14 Police Blues 3:01

Piano – Clarence Johnson 

15 Don't Let Your Love Control Your Man 2:54

Piano – Clarence Johnson

16 Shootin' Star Blues 2:50

Piano, Written-By – Porter Grainger

17 Lonesome Ghost Blues 2:51

Piano – Porter Grainger

Written-By – Andy Razaf

18 If You Can't Control Your Man 2:55

Piano – Porter Grainger

19 Nobody Shows What My Baby Shows 2:53

Clarinet – Bob Fuller

Piano – Louis Hooper

Written-By – Andy Razaf

20 Second Hand Daddy 2:55

Clarinet – Bob Fuller

Piano – Louis Hooper

21 A Good Man Is Hard To Find (Take 2) 2:55

Clarinet – Bob Fuller

Piano – Louis Hooper

Written-By – Eddie Green  

22 A Good Man Is Hard To Find (Take 3) 2:50

Clarinet – Bob Fuller

Piano – Louis Hooper

Written-By – Eddie Green  

Credits :

Bob Fuller - Clarinet

Porter Grainger, Louis Hooper - Piano

Louis Metcalf - Cornet

Lizzie Miles - Kazoo, Vocals 

LIZZIE MILES — Complete Recorded Works In Chronological Order • 3 (1928-1939) DOCD-5460 (1996) FLAC (tracks), lossless

The third of three Document Lizzie Miles CDs has some of the finest recordings of the singer's career, particularly on the first half of this disc. After three numbers with a trio not helped by the presence of clarinetist Bob Fuller, Miles performs two superior songs ("You're Such a Cruel Papa to Me" and "My Dif'rent Kind of Man") while joined by cornetist King Oliver, Albert Socarras (doubling on flute and alto) and pianist Clarence Williams. Miles fits right in with a hot combo led by the unknown Jasper Davis (probably a pseudonym) that includes cornetist Louis Metcalf, altoist Charlie Holmes and pianist Cliff Jackson. She is also featured on two songs in duet with the great pianist Jelly Roll Morton, three tunes with pianist Harvey Brooks (including "My Man O' War" and "Electrician Blues") and joined by the trio of pianist Porter Grainger, guitarist Teddy Bunn and bassist Pops Foster (highlighted by "Yellow Dog Gal Blues") in 1930. Nine years passed before Lizzie Miles had an opportunity to record again. At the age of 44 she sounds fine on seven numbers with the Melrose Stompers (a Chicago swing septet whose personnel is long lost) from 1939; the band is also heard taking "Mellow Rhythm" as an instrumental. Highly recommended, particularly for the 1928-30 recordings, this CD has Lizzie Miles' last recordings before she began her comeback in 1952. Scott Yanow  

Tracklist :

1 –Lizzie Miles

         Shake It Down 2:40

Banjo – Unknown Artist

Clarinet – Bob Fuller

Piano – Louis Hooper

Written-By – Spencer Williams  

2 –Lizzie Miles

          Banjo Papa (Stop Pickin' On Me) 2:48

Banjo – Unknown Artist

Clarinet – Bob Fuller

Piano – Louis Hooper

Written-By – Andy Razaf

3 –Lizzie Miles

 Your Worries Ain't Like Mine 2:49

Banjo – Unknown Artist

Clarinet – Bob Fuller

Piano – Louis Hooper

Written-By – Andy Razaf

4 –Lizzie Miles

         You're Such A Cruel Papa To Me 3:10

Cornet – King Oliver

Flute, Alto Saxophone – Albert Socarras

Piano – Clarence Williams

5 –Lizzie Miles

          My Dif'rent Kind O' Man 3:03

Cornet – King Oliver

Flute, Alto Saxophone – Albert Socarras 

Piano – Clarence Williams

Written-By – Jack Palmer 

6 –Lizzie Miles

Georgia Gigolo 2:54

Alto Saxophone – Charlie Grimes

Banjo – Elmer Snowden

Clarinet, Alto Saxophone – Charlie Holmes

Cornet – Louis Metcalf, Unknown Artist

Leader – Jasper Davis

Orchestra – Jasper Davis And His Orchestra

Piano [Poss.] – Cliff Jackson

Sousaphone [Bb] – Bass Moore

Trombone – Henry Hicks

Written-By – Spencer Williams 

7 –Lizzie Miles

          It Feels So Good 3:01

Alto Saxophone – Charlie Grimes 

Banjo – Elmer Snowden

Clarinet, Alto Saxophone – Charlie Holmes

Cornet – Louis Metcalf, Unknown Artist

Leader – Jasper Davis

Orchestra – Jasper Davis And His Orchestra

Piano [Poss.] – Cliff Jackson

Sousaphone [Bb] – Bass Moore

Trombone – Henry Hicks

Written-By – Spencer Williams 

8 –Lizzie Miles

I Hate A Man Like You 3:22

Piano, Written-By – Jelly Roll Morton

9 –Lizzie Miles

Don't Tell Me Nothin' 'Bout My Man 2:57

Piano, Written-By – Jelly Roll Morton

10 –Lizzie Miles My Man O' War 3:28

Piano – Harvey Brooks  

Written-By – Andy Razaf, Spencer Williams  

11 –Lizzie Miles

Electrician Blues 3:12

Piano – Harvey Brooks 

12 –Lizzie Miles

Good Time Papa 3:36

Piano – Harvey Brooks 

Written-By – Lizzie Miles

13 –Lizzie Miles

The Man I Got Ain't The Man I Want 2:54

Bass – Pops Foster

Guitar – Teddy Bunn

Piano – Porter Grainger

14 –Lizzie Miles

Yellow Dog Gal Blues 2:55

Bass – Pops Foster

Guitar – Teddy Bunn

Piano – Porter Grainger

15 –Lizzie Miles And The Melrose Stompers

Mellow Rhythm 2:34

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

16 –Lizzie Miles And The Melrose Stompers

He's My Man  2:49

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

17 –Lizzie Miles And The Melrose Stompers

That's All Right Daddy 2:56

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

18 –Lizzie Miles And The Melrose Stompers

Hold Me, Parson 2:46

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

19 –Lizzie Miles And The Melrose Stompers

         Keep Knockin' No. 2 (But You Can't Come On) 2:50

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

20 –Lizzie Miles And The Melrose Stompers

          Stranger Blues 3:00

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

21 –Lizzie Miles And The Melrose Stompers

Twenty Grand Blues 2:49

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

22 –Lizzie Miles And The Melrose Stompers

          He's Red Hot To Me 2:49

Alto Saxophone – Unknown Artist

Bass – Unknown Artist

Clarinet – Unknown Artist

Drums – Unknown Artist

Piano – Unknown Artist

Tenor Saxophone – Unknown Artist

Trumpet – Unknown Artist

Credits :

Teddy Bunn - Guitar

Pops Foster - Sax (Baritone)

Bob Fuller - Clarinet

Porter Grainger, Louis Hooper - Piano

Charlie Grimes - Sax (Alto)

Henry Hicks - Trombone

Charlie Holmes - Clarinet, Sax (Alto)

King Oliver - Conductor

Lizzie Miles - Composer, Vocals (tracks: 1 to 14, 16 to 22) 

Jelly Roll Morton - Composer, Piano

Albert Socarras - Flute, Sax (Alto)

Clarence Williams - Composer, Piano

TOO LATE, TOO LATE BLUES — Newly Discovered Titles & Alternate Takes ★ Volume 1 • 1926-1944 | DOCD-5150 (1993) RM | FLAC (tracks+.cue), lossless

This CD initiated a logical series for the Document label. The company's goal of reissuing every single prewar recording has resulted in hundreds of valuable CDs being reissued. Inevitably, there were new discoveries of music after the fact, so this series consists of previously unreleased titles, alternate takes, and discoveries. Vol. 1 has selections from Blind Blake ("Early Morning Blues"), Blind Lemon Jefferson ("Lock Step Blues" and "Hangman's Blues"), George "Bullet" Williams, Bessie Tucker, the Memphis Jug Band, Willie Baker, Rev. D.C. Rice, Charlie Spand, Robert Peeples, Charley Patton (an alternate of "I Shall Not Be Moved"), Big Bill Broonzy, Frank Brasswell, Memphis Minnie, the team of Kansas City Kitty & Georgia Tom Dorsey, Bo Carter, Joe McCoy, Kokomo Arnold (a test pressing of his famous "Milk Cow Blues"), Little Buddy Doyle, and Lonnie Johnson. More general blues collectors should explore the more obvious releases first, but specialists will find these 26 performances (and those in later CDs included in this series) to be quite fascinating. Scott Yanow

Abridged from this album’s original booklet notes. Document strives to preserve and present each artist’s oeuvre in a concise, logical format that will make it available for further enjoyment and study for many years to come. Inevitably, however, some items do turn up and become available to Document after (or perhaps even because) the major alcum issue is released. It is only then that some collectors realize what rare and unusual items they already have in their collections, and they make them available for Document to share with the larger community. This issue, then, acts as a clearing house to preserve and expand on what has previously been available, and also can serve as a sampler of artists that have been featured. These additional items fall into several main categories. The Rev. D. C. Rice test pressing was one I had a dub of for some ten years, but I realized only in hindsight that it was not generally known to exist. When I sent it to Document, it turned out that technical limitations (absolute album playing time) precluded its earlier use in any case, but this is a case of better late than never. I think it was Bob Dixon who pointed out this fact of life for the compiler; as soon as the work is completed as much and as well as possible, in come the corrections and additions to keep him humble and constantly on the lookout for more. Some of these are items that have only been found in the last year or so. One of these Big Bill’s is a case in point, having been picked up in a lot that was brought in “off the street” for disposal. Richard Hite sold the 78 to Pete Wielan who made it available. Mike Kirsling has made available items that he found in the great Paramount test lot of several years ago, but which he retained. Now they will be available. Several items have been tracked down via the Rarest 78’s column in 78 Quarterly. Those we’ve been able to contact have been most generous and forthcoming to help make this (and, indeed, the whole series in general) as complete and good sounding as it is. As for the question of alternate takes, Document has been including them when they are aurally different. The Charley Patton -2 included here is an exception – not noticeably different to our ears, but a better copy in any case. Some of these alternates come to our attention aurally, as in the case of Memphis Minnie‘s Reachin’ Pete, of which only one take was thought to exist. So we know for sure that some people at least listen to these issues with intense concentration. No doubt there are interesting stories behind each item presented here, but here are included the newly found, newly recognized, and newly offered items and the background of only a few of them. In conclusion, we dedicate this issue to you, the listener, who makes this task of retrieval, preservation and presentation such a labor of love for us all. DOCD-5150
Tracklist :
1    Blind Blake–    Early Morning Blues (3057-2)    2:57
2    Blind Lemon Jefferson–    Lock Step Blues (20750)    3:05
3    Blind Lemon Jefferson–    Hangman's Blues (20751-2)    3:04
4    George "Bullet" Williams–    Frisco Leaving Birmingham (Take 3)    2:52
5    Bessie Tucker–    My Man Has Quit Me (Take 2) 3:08
Piano – K.D. Johnson
6    Memphis Jug Band–    Stealin' Stealin' (Take 3) 3:07
Vocals [Group Vcl] – Memphis Jug Band
7    Willie Baker–    Weak-Minded Woman (14782 - Test)    3:04
8    Rev. D.C. Rice–    Will They Welcome Me There? (Test) 3:17
Mandolin – Unknown Artist
Piano – Unknown Artist
Tambourine – Unknown Artist
Triangle – Unknown Artist
Trombone – Unknown Artist
Trumpet – Unknown Artist
9    Charlie Spand–    Levee Camp Man (Breakdown) (Take 6 - Test)    1:31
10    Charlie Spand–    Mississippi Blues (Take V6 - Test)    2:49
11    Robert Peeples–    Worry Blues (Test)    2:39
12    Charley Patton–    I Shall Not Be Moved (Take 2)    3:02
13    Big Bill–    Bow Leg Baby 2:38
Piano – Georgia Tom Dorsey
14    Frank Brasswell–    Mountain Jack Blues (16575) 2:26
Piano – Unknown Artist
15    Memphis Minnie–    Memphis Minnie-Jitis Blues (Take B) 3:15
Guitar – Kansas Joe McCoy
16    Kansas City Kitty & Georgia Tom–    Do It Some More    3:11
17    Kansas City Kitty & Georgia Tom–    Knife Man Blues    3:11
18    Bo Carter–    New Auto Blues    3:02
19    Big Bill–    Worried In Mind Blues    3:00
20    Joe McCoy–    Meat Cutter Blues (Alternate Take) 3:08
Guitar [Possibly] – Charlie McCoy
21    Joe McCoy–    What's The Matter With You? 2:55
Piano – Jimmie Gordon
22    Memphis Minnie–    Reachin' Pete (Take B)    3:10
23    Kokomo Arnold–    Milk Cow Blues – No. 5 (Test)    2:44
24    Memphis Minnie–    Running And Dodging Blues (Take 2 - Test) 2:43
Bass [String Bass, Probably] – Ransom Knowling
Clarinet – Arnett Nelson
Piano – Blind John Davis
25    Little Buddy Doyle–    Slick Capers Blues (Test) 2:35
Harmonica [Probably] – Walter Horton
26    Lonnie Johnson–    The Victim Of Love 3:10
Bass [String Bass] – Ransom Knowling
Piano – Blind John Davis

THE GREAT HARP PLAYERS — The Complete Works 1927-1936 of WILLIAM FRANCIS & RICHARD SOWELL, OLLIS MARTIN, EL WATSON, PALMER McABEE, GEORGE "BULLET" WILLIAMS, BLUES BIRDHEAD, ELLIS WILLIAMS, ALFRED LEWIS, SMITH & HARPER | DOCD-5100 (1991) RM | FLAC (tracks+.cue), lossless

Although one may think of the blues harp beginning with Little Walter, the first Sonny Boy Williamson, or Sonny Terry, a variety of harmonica players did record in the '20s. Some of their recordings were technical displays that featured them imitating everything from animals to trains, while other players were more blues-oriented. This valuable CD has two selections from the guitar-harmonica team of William Francis and Richard Sowell; Ollis Martin's "Police and High Sheriff Come Ridin' Down"; six pieces by Eli Watson (including "El Watson's Fox Chase"); two cuts apiece by Palmer McAbee, Ellis Williams, Alfred Lewis, and the team of Smith & Harper (which is the only music on this CD recorded after 1930); plus four songs/displays from Blues Birdhead (including "Get up off That Jazzophone") and George "Bullet" Williams (highlighted by "Frisco Leaving Birmingham" and "The Escaped Convict"). Fascinating music. Scott Yanow
Tracklist :
1    William Francis And Richard Sowell–    John Henry Blues
Guitar – William Francis
Harmonica – Richard Sowell
2    William Francis And Richard Sowell–    Roubin Blues
Guitar – William Francis
Harmonica – Richard Sowell
3    Ollis Martin–    Police And High Sheriff Come Ridin' Down
Vocals, Harmonica – Ollis Martin
4    El Watson–    Pot Licker Blues
Guitar – Charles Johnson
Harmonica – El Watson
5    El Watson–    Narrow Gauge Blues
Guitar – Charles Johnson
Harmonica – El Watson
6    El Watson–    El Watson's Fox Chase
Harmonica, Speech, Vocals [Effects, possibly] – El Watson, Robert Cooksey
7    El Watson–    Bay Rum Blues
Bones – Unknown Artist
Harmonica – El Watson
8    El Watson–    Sweet Bunch Of Daisies
Harmonica – El Watson
9    El Watson–    One Sock Blues
Harmonica – El Watson
10    Palmer McAbee–    Lost Boy Blues
Harmonica – Palmer McAbee
11    Palmer McAbee–    McAbee's Railroad Piece
Harmonica – Palmer McAbee
12    George "Bullet" Williams–    Touch Me Light Mama
Harmonica, Speech – George "Bullet" Williams
Vocals [perhaps] – Wiley Barner
13    George "Bullet" Williams–    Frisco Leaving Birmingham (Take 2)
Harmonica, Speech – George "Bullet" Williams
14    George "Bullet" Williams–    The Escaped Convict (Take 2)
Harmonica, Speech – George "Bullet" Williams
15    George "Bullet" Williams–    Middlin' Blues
Harmonica, Speech – George "Bullet" Williams
Speech – Unknown Artist
16    The Bubbling-Over Five–    Don't Mistreat Your Good Boy Friend
Harmonica – Blues Birdhead
Soprano Saxophone, Violin, Piano, Banjo, Guitar – Unknown Artist
Vocals – Bob Brown
17    The Bubbling-Over Five–    Get Up Off That Jazzophone
Harmonica – Blues Birdhead
Soprano Saxophone, Violin, Piano, Banjo, Guitar – Unknown Artist
Vocals – Bob Brown
18    Blues Birdhead–    Mean Low Blues
Harmonica – Blues Birdhead
Piano – Unknown Artist
19    Blues Birdhead–    Harmonica Blues
Harmonica – Blues Birdhead
Piano – Unknown Artist
20    Ellis Williams–    Buttermilk Blues
Guitar, Spoons – Unknown Artist
Harmonica – Ellis Williams
21    Ellis Williams–    Smokey Blues
Guitar – Unknown Artist
Harmonica – Ellis Williams
22    Alfred Lewis–    Mississippi Swamp Moan
Harmonica, Vocals [Effects], Speech – Alfred Lewis
23    Alfred Lewis–    Friday Moan Blues
Harmonica, Vocals [Effects] – Alfred Lewis
24    Smith And Harper–    Poor Girl
Vocals [duet], Harmonica, Guitar – Smith And Harper
25    Smith And Harper–    Insurance Policy Blues
Guitar [2nd g.] – Unknown Artist
Vocals [duet], Harmonica, Guitar – Smith And Harper

SINNERS AND SAINTS — The Complete Works 1926-1931 of T.C.I. SECTION CREW, FREEMAN STOWER, "BEANS HAMBONE & EL MORROW, "BIG BOY" GEORGE OWENS, WILL BENNETT, LONNIE COLEMAN, NUGRATE TWINS, BLIND ROGER HAYS, PINK ANDERSON & SIMMIE DOOLEY | DOCD-5106 (1991) RM | FLAC (tracks+.cue), lossless

Document's Sinners and Saints (1926-1931) presents the complete recorded works of nine artists and groups, whose combined repertoires and performance styles serve as a brief but fascinating lesson in the history of black music, expanding common conceptions of the musical continuum that created the blues. The CD presents minstrel and medicine show material, religious songs, two work songs, a few so-called "blues," and a bad man blues ballad, exhibiting a wide scope of black musical traditions dating back to the 19th century and still in circulation during the 1920s and '30s. The performers not only represent a variety of genres, but demonstrate highly individualized styles that reflect their own personal aesthetics as much as any traditional form. The tones of their offerings range from the bizarre and the mirthful to the plaintive and deeply spiritual; the total effect of the album is hilarious, dark, and genuinely moving. Of the artists collected here, only Pink Anderson would record again after the 1930s, producing three albums with his "rediscovery" in the '60s. Most of the performers on this compilation recorded two sides apiece, appearing in a studio for only one day of their lives; Freeman Stowers and the Pink Anderson-Simmie Dooley team have four tracks each, and the miraculous Nugrape Twins are blessed with six. Stowers performs two harmonica blues numbers, infusing one with a knockout, if grating, impersonation of a train, shrieking underneath the strains of his harp to simulate the roaring locomotive's whistle. In two other tracks, he abandons the instrument altogether for vocal imitations of animals, creating a surreal listening experience that is both terrifying and uproarious. If some of his impersonations, including a hog and a wildcat, are dead on the money, others of the inhabitants of his "Sunrise on the Farm" seem to have sprung out of the sideshows of hell. Taken together, Stowers' menagerie probably comprises some of the strangest six minutes ever recorded commercially. "Beans" Hambone, accompanied by guitarist El Morrow, continues the surrealism of Stowers' "Sunrise" with an eerie comic song called "Beans," plunked out on an unusual homemade guitar whose notes hypnotically punctuate the half-sung and half-spoken tale, in which a doctor writes prescriptions for beans, Biblical figures have gardens and arks full of beans, the singer dies from eating beans and is buried in beans, and his funeral is "preached...in beans, beans, beans." The six tracks by the Nugrape Twins (Matthew and Mark) are full of youthful energy, whether the twins are singing about the pleasures of heaven or of Nugrape Soda, or, at their most sublime, combining the two ("Way down yonder in the promised land, a-run and tell your mama, here's the Nugrape Man"). "I Got Your Ice Cold Nugrape" is their masterpiece, a simultaneous hymn and jingle that advertises the soda as a cure for any earthly or spiritual ailment; like all of their songs, it pits the two rural voices against a concert piano in a unique synthesis of styles. The twins are succeeded by the New Orleans songster Blind Roger Hays, whose two songs constitute the spiritual climax of the album. Hays' singing and playing are deceptively simple, reflecting a depth of emotion that transforms the sentimentality of his lyrics and tunes into deeply inspiring and soul-shaking work. Following Hays' "I Must Be Blind, I Cannot See" (a beautiful statement with a melody lifted from "Home Sweet Home"), the album concludes with the duets of Anderson and Dooley, whose quick fingerwork, raucous kazoo, and spirited vocals maintain the exuberance if not the spirituality of Hays' performances. The performers assembled here recorded their few minutes of fame with a rich intensity, packing years and decades of experience -- and ultimately disappearing -- into the narrow circumference of a 78 record. Each artist in this well-crafted set presents his own model of rejuvenation and deliverance, whether grounded in the promise of heaven; the sound of a passenger train; the flavor of an ice-cold Nugrape; or the pleasures of stronger drink, sex, and dance -- of "tipping out tonight" and "strutting his stuff." With brief notes by blues writer Paul Oliver, the album is as entertaining and educational as the best of Document's CDs. It is doubly commendable for illustrating the breadth of traditions captured on "race records," while also showcasing the talents of the lesser-known patron saints of the business. Highly recommended. Burgin Mathews

Abridged from this album’s original booklet notes. The lack of early recordings means that we have no direct contemporary information on the sounds of black music in the formative years from the 1890s to the l920s. So we have to make deductions from what evidence we can obtain. Take work song, for instance. No field recordings were made of the songs of the black section gangs as they physically “lined track” – straightened railroad lines buckled by heat – until Henry Truvillion was recorded in 1939. A dozen years before, a single coupling was made by the T.C.I. Section Crew; the only work song of its type to be recorded on a commercial 78rpm disc. Work songs were unaccompanied. How did instrumental accompaniments enter the blues, which is believed to have been originally a solo form of work song? A harmonica is the easiest instrument to carry, and Freeman Stowers, apparently a Texas field hand from his vocal imitations of animals on the farm, plays – and shrieks – the sounds of passing trains, a ferocious hunt for a Texas wildcat, and a medley of old blues and country dance themes. By later standards his playing may be primitive but it illustrates the origins of blues “vocalised tone”. Then there is the matter of the songs themselves – the precursors of blues and the song traditions that blues slowly replaced. Beans, a comic song half-chanted by James Albert, called “Beans Hambone”, was a song composed by Elmer Bowman and Chris Smith in 1912; all four came from the Carolinas. So did Pink Anderson, the medicine show entertainer, from South Carolina, who made a much more accomplished version of “Tippin’” Out as Gonna Tip Out Tonight. In Beans Hambone and El Morrow we have a rare glimpse of a couple of country musicians trying to learn their craft; in Pink Anderson and Simmie Dooley we hear a couple of professional musicians from the travelling “medicine shows”. As I’ve Got Mine, “The Coon Crap Game” was one of Pink Anderson‘s favourite songs when he was recorded in the l950s; “Big Boy” George Owens recorded it many years before, but it was an old song by then, having been written by a white minstrel show entertainer, John Queen, in 1901. George Owens also cut a blues, using a number of standard verses that had been collected soon after Queen wrote his “Coon” song. Kentucky Blues may be a clue to his home state. Will Bennett might have come from Tennessee, where he recorded the song of a rambler who did not want to be burdened with property: “any-old-where I hang my hat is home sweet home to me”. He was another old-time “songster”, the kind of singer who could draw on a wide repertoire to entertain on street corners. His song about Railroad Bill extolled the exploits of a real-life black train robber and Alabama hero, Morris Slater, who was gunned down in 1897. Bennett identifies with the bandit in the ballad. Stack O Lee, Frankie and Albert and Railroad Bill were of this type, which may well have influenced the form of the blues. It was the songsters who adopted the guitar, replacing the 19th Century combination of banjo and fiddle. By the time they were recorded there were few banjoists left, but Lonnie Coleman was one. His rasping voice and ringing banjo give us the flavour of country music at the time when blues was an emergent music. Simply known as Matthew and Mark, the “Nugrape Twins” took their name from a proprietary non-alcoholic drink. Three of their harmonised songs bridged the old spiritual tradition and the emerging gospel songs of the Sanctified churches. Their accents were rural but their pianist was used to concert-styled accompaniments. There’s A City Built of Mansions was based on a traditional spiritual, but I Got Your Ice Cold Nugrape made a gospel message out of a contemporary secular theme. The twins may be contrasted with Blind Roger Hays from New Orleans who accompanied his rough and simple songs on harmonica and a briskly strummed guitar. On I Must Be Blind, I Cannot See he sang of his affliction, made all the more touching by the cheerful dance time. Blind Simmie Dooley partnered Pink Anderson, exchanging verses on Every Day in the Week Blues based on a Harry von Tilzer song from 1900, and taking the nasal lead on C. C. And O. Blues, a four-line, sixteen bar blues on the railroad theme. It wasn’t the blues in its mature form, but the singing and playing of these songsters showed that it was on its way. DOCD-5106
Tracklist :
1    T.C.I. Section Crew–    Track Linin    2:40
2    T.C.I. Section Crew–    Section Gang Song    2:25
3    Freeman Stowers–    Railroad Blues     3:07
4    Freeman Stowers–    Texas Wild Cat Chase    2:55
5    Freeman Stowers–    Medley Of Blues (All Out And Down: Old Time Blues: Hog In The Mountain)    2:50
6    Freeman Stowers–    Sunrise On The Farm    2:57
7    "Beans" Hambone-El Morrow–    Beans    2:50
8    "Beans" Hambone-El Morrow–    Tippin' Out    2:41
9    "Big Boy" George Owens*–    Kentucky Blues    2:57
10    "Big Boy" George Owens*–    The Coon Crap Game    2:41
11    Will Bennett–    Railroad Bill    2:57
12    Will Bennett–    Real Estate Blues    2:29
13    Lonnie Coleman–    Old Rock Island Blues    3:12
14    Lonnie Coleman–    Wild About My Loving    3:05
15    The NuGrape Twins–    I Got Your Ice Cold Nugrape    2:54
16    The NuGrape Twins–    There's A City Built Of Mansions    2:55
17    The NuGrape Twins–    The Road Is Rough And Rocky    2:42
18    The NuGrape Twins–    Pray Children If You Wan't To Go To Heaven    2:41
19    The NuGrape Twins–    Nugrape - A Flavor You Can't Forget    2:53
20    The NuGrape Twins–    Can't You Watch Me For One Hour    2:34
21    Blind Roger Hays–    On My Way To Heaven    3:08
22    Blind Roger Hays–    I Must Be Blind, I Cannot See     3:01
23    Pink Anderson & Simmie Dooley–    Every Day In The Week Blues    2:52
24    Pink Anderson & Simmie Dooley–    C.C. & O. Blues    3:09
25    Pink Anderson & Simmie Dooley–    Papa's 'Bout To Get Mad    2:54
26    Pink Anderson & Simmie Dooley–    Gonna Tip Out Tonight    3:10

REV. D.C. RICE – Complete Recorded Works 1928-1930 In Chronological Order | DOCD-5071 (1991) RM | FLAC (tracks+.cue), lossless

Complete Recorded Works (1928-1930) is an excellent disc that contains all 20 known preformances from the Rev. D.C. Rice, an impassioned country-blues gospel singer. These are some of the finest blues-gospel recordings of their era, and this is likely the best presentation they'll ever receive. Thom Owens
Tracklist :
1        The Angels Rolled The Stone Away    2:39
2        A Sure Foundation    2:38
3        Come And See    2:48
4        Lord Keep Me With A Mind    2:46
5        Leaving All To Follow Jesus    2:53
6        Shall Not A Dog Move His Tongue    2:48
7        Take My Yoke Upon You    2:41
8        The Wise And The Foolish Virgins    2:43
9        The Sure Foundation - Part 2    2:45
10        I Will Arise And Go To My Father    2:52
11        He's Got His Eyes On You    3:11
12        I'm In The Battlefield For My Lord    3:19
13        I'm Pressing On    2:43
14        No Night There    2:56
15        Sin Is To Blame    2:42
16        Tell It Over Again    2:49
17        Who Do You Call That Wonderful Counsellor    2:45
18        I Mean To Live So God Can Use Me    2:46
19        Were You There When They Crucified My Lord?    2:31
20        He Arose Them From The Dead    2:44
21        Testify - For My Lord Is Coming Back Again    2:32
22        When I Take My Vacation In Heaven    3:23
23        A Woman Went One Thousand Miles To See A Man    2:46
24        I'm Gonna Wait Right Here Till He Comes    3:01
25        We Got The Same Kinda Power Over Here    2:53
26        New Born Again    2:37

TEXAS SLIDE GUITARS — Complete Recorded Works 1930-1938 In Chronological Order of OSCAR WOODS & BLACK ACE | DOCD-5143 (1991) RM | FLAC (tracks), lossless)

Abridged from this album’s original booklet notes. Blues musicians from the Deep South tend to use the bottleneck-slide or slide guitar style more often than other “down-home” blues players, and Black Ace and Oscar “Buddy” Woods were two of the best musicians to perform in this manner. Oscar Woods, a street singer since 1925, teamed with Ed Schaffer to record two selections for Victor at their May, 1930 Memphis field session. Their record was issued as by the Shreveport Homewreckers and featured Schaffer’s gritty vocal and kazoo supported by their twin slide guitars. They returned to the studio about two years later for a session almost certainly arranged by Jimmie Davis, who was in Dallas for a session that lasted several days. The duo played on four sides: Saturday Night Stroll, Sewing Machine Blues, Red Night Gown, and Davis’s Salty Dog. Davis went on to claim authorship of You Are My Sunshine and was twice elected governor of Louisiana. In the early 1930s, however, he was a struggling hillbilly and singer with a taste for the yodelling of Jimmie Rodgers and black blues music. Sewing Machine Blues is a strangely effective, almost eerie blues performance that belies Davis’s later political and Christian song-writing career. Five years after recording with Davis, Oscar Woods travelled south to New Orleans for a solo Decca recording session that included his theme song, Lone Wolf Blues. Two more brief commercial sessions for Vocalion followed in 1937 and 1938, this time with a small band – The Wampus Cats. Nothing is known of Ed Schaffer, who seems to have drifted out-of-town in the middle 1930s. Babe Kyro Lemon Turner spent much of his life about two hundred miles due west of Shreveport in and what is now the Dallas / Fort Worth metroplex. In the early 1930s the Black Ace temporarily migrated to Shreveport and teamed with Oscar Woods. By 1936 he’d moved to Fort Worth and secured work as a musician and broadcast over a local station KFJZ from 1936 to 1941. Turner even appeared in the film “The Blood of Jesus” in 1941. Known as “The Black Ace“, Turner first came into the ARC field studio in April, 1936, but his two selections Bonus Man Blues and Black Ace Blues were never issued. Nearly one year later he returned to Dallas for a Decca field session that also included pianists Black Ivory King and Alex Moore as well as Blind Norris and Andrew Hogg. The six selections on this album, most of which are compositions based on traditional themes like alcohol, women and Santa Claus come from this session. Chris Strachwitz, during a field trip to Texas in 1960 in the company of Paul Oliver, came across the Black Ace and recorded him including, of course, his theme song, Black Ace and Mr. Turner’s unique slide guitar and vocals were introduced to a new audience of blues enthusiasts. DOCD-5143
Tracklist :
Oscar "Buddy" Woods    
1    Jimmie Davis–    She's A Hum Dum Dinger (From Dingersville) 2:56
Guitar – Oscar Woods
Guitar [Poss.] – "Dizzy Head"
Vocals – Jimmie Davis
2    Shreveport Home Wreckers–    Fence Breakin' Blues 3:11
Guitar – Oscar Woods
Guitar, Vocals, Kazoo – Ed Schaffer
3    Shreveport Home Wreckers–    Home Wreckin' Blues 3:14
Guitar – Oscar Woods
Guitar, Vocals, Kazoo – Ed Schaffer
4    Jimmie Davis–    Bear Cat Mama From Horner's Corners 3:00
Guitar – Oscar Woods
Guitar [Poss.] – "Dizzy Head"*
Vocals – Jimmie Davis
5    Jimmie Davis, Oscar Woods–    Saturday Night Stroll 3:17
Guitar – Ed Schaffer
Vocals – Jimmie Davis
Vocals, Guitar – Oscar Woods
6    Jimmie Davis–    Sewing Machine Blues 3:19
Guitar – Oscar Woods
Guitar [Poss.] – "Dizzy Head"
Vocals – Jimmie Davis
7    Jimmie Davis–    Red Nightgown Blues 2:57
Guitar – Oscar Woods
Guitar [Poss.] – "Dizzy Head"
Vocals – Jimmie Davis
8    Jimmie Davis–    Davis's Salty Dog 2:27
Guitar – Oscar Woods
Guitar [Poss.] – "Dizzy Head"
Vocals – Jimmie Davis
9    Oscar Woods (The Lone Wolf)–    Evil Hearted Woman Blues 3:05
Vocals, Guitar – Oscar Woods (The Lone Wolf)
10    Oscar Woods (The Lone Wolf)*–    Lone Wolf Blues 3:10
Vocals, Guitar – Oscar Woods (The Lone Wolf)
11    Oscar Woods (The Lone Wolf)*–    Don't Sell It - Don't Give It Away 2:54
Vocals, Guitar – Oscar Woods (The Lone Wolf)
12    Buddy Woods With The Wampus Cats–    Muscat Hill Blues 2:47
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
Piano – Unknown Artist
Vocals, Guitar – Oscar Woods
13    Buddy Woods With The Wampus Cats–    Don't Sell It (Don't Give It Away) 2:30
Bass [String Bass] – Unknown Artist
Guitar – Unknown Artist
Piano – Unknown Artist
Vocals, Guitar – Oscar Woods
14    Kitty Gray And Her Wampus Cats–    Baton Rouge Rag 2:27
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Oscar Woods
Piano – Kitty Gray
15    Buddy Woods–    Jam Session Blues 2:34
Accompanied By – Wampus Cats
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Unknown Artist
Trumpet – Unknown Artist
Vocals, Guitar – Oscar Woods
16    Buddy Woods–    Low Life Blues 2:31
Accompanied By – Wampus Cats
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Unknown Artist
Trumpet – Unknown Artist
Vocals, Guitar – Oscar Woods
17    Buddy Woods–    Token Blues 2:30
Accompanied By – Wampus Cats
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Unknown Artist
Trumpet – Unknown Artist
Vocals, Guitar – Oscar Woods
18    Buddy Woods–    Come On Over To My House Baby 2:23
Accompanied By – Wampus Cats
Bass [String Bass] – Unknown Artist
Drums – Unknown Artist
Guitar – Unknown Artist
Piano – Unknown Artist
Vocals, Guitar – Oscar Woods
        Black Ace    
19    Black Ace–    Trifling Woman 2:46
Guitar [Prob.] – Smokey Hogg
Vocals, Guitar – Black Ace
20    Black Ace–    Black Ace 2:44
Guitar [Prob.] – Smokey Hogg
Vocals, Guitar – Black Ace
21    Black Ace–    You Gonna Need My Help Some Day 2:34
Guitar [Prob.] – Smokey Hogg
Vocals, Guitar – Black Ace
22    Black Ace–    Whiskey And Women 3:00
Guitar [Prob.] – Smokey Hogg
Vocals, Guitar – Black Ace
23    Black Ace–    Christmas Time Blues 2:45
Guitar [Prob.] – Smokey Hogg
Vocals, Guitar – Black Ace
24    Black Ace–    Lowing Heifer 3:02
Guitar [Prob.] – Smokey Hogg
Vocals, Guitar – Black Ace

SON HOUSE — The Legendary 1969 Rochester Complete Sessions | DOCD-5148 (1992) RM | FLAC (tracks+.cue), lossless

Document's At Home: Complete 1969 Recorded Works is a fascinating look at Son House in an intimate setting, and serious fans will find it necessary, but many of these performances aren't as strong as similar sets he recorded in the '60s. In other words, it's one for the completist. Thom Owens

Abridged from this albums original booklet notes. When back in 1964 Nick Perls, Dick Waterman and Phil Spiro searched the Mississippi Delta region for clues as to the whereabouts of legendary blues recording artist Son House, they first drew a blank. Finally, in Robinsonville – where Robert Johnson first played blues in a juke joint – they got a lead which eventually took them right back to New York State. In June of that year, they arrived at Son House‘s home in Rochester’s riverfront Corn Hill neighbourhood, almost a thousand miles from Mississippi! Son had lived here since 1943, soon after being recorded for the Library of Congress by Alan Lomax. Son had not performed blues for many years and was completely unaware of the international enthusiasm for the 10 sides he recorded for Paramount in 1930 and those he later made for Lomax. Although a little rusty at first, after practising for some weeks he gradually relearned his old guitar skills and his voice strengthened to the point where he was able to play concerts again. “When he played, his eyes rolled back in his head and he went somewhere else. Whether it was Robinsonville in the ’30’s or wherever, he transported himself back without any trickery and became the essence of Delta. He would then finish the song, blink his eyes, and then re-accustom himself to where he was at the time.” – Dick Waterman, remembering Son House. By the time John Hammond of Columbia Records decided to record him in April 1965, he was singing and playing with such power and conviction that the years seemed to have rolled away, with some of performances rivalling those for the Library of National Congress twenty years before. The informal recordings of Son House and his wife, Evie (who plays tambourine and gives a spoken message) on this album were made by Steve Lobb at their Rochester home, just prior to Son’s second European tour. They remind us of the remarkable return to music of one of the very greatest of all the many Mississippi blues singers. DOCD-5072
Tracklist :
1        Son's Blues 20:37
Arranged By – Son House
Written-By – Charley Patton
2        Yonder Comes My Mother 1:50
– Traditional
Arranged By – Son House
3        Shetland Pony Blues 3:42
Written-By – Son House
4        I'm So Sorry Baby 2:34
Written-By – Son House
5        Plantation Song 0:45
Written-By – Son House
6        Mister Suzie-Q  2:44
Written-By – Son House
7        Evening Train 4:47
– Traditional
Arranged By – Son House
8        Sundown 7:23
Written-By – Son House
9        Preachin' The Blues 7:20
Written-By – Eddie J. House
10        Empire State Express 8:45
– Traditional
Arranged By – Son House
11        Never Mind People Grinnin' In Your Face 3:44
Arranged By – Son House
Tambourine – Evie House
Written-By – James Milton Black
12        Sun Goin' Down 7:09
Written-By – Son House
13        A Spoken Message 7:06
Voice [Speech] – Evie House
Written-By – Son House